#i have a lot of feelings about jesse

[14dayswithyou]

tell ren to turn his location on👉👈

I saw one of the posts of how ren does get jealous of pets being loved over him and alll that so now I have the thought of the one meme of ‘ah yes, me, my partner and their [enter normal pet size] foot [pet]’

I don’t have anything else, it did pop into my head though and I thought I’d share with the class.

⌞♥⌝ ItsNotVivy on Twitter actually made that exact meme with Ren a looong time ago!!

[garvalhaminho]

matthew developing more romantic feelings towards lucie had so much comedic potential. love triangle between a blond and a corpse and she still would've chosen the corpse

[anxiouspotatorants]

Actually you know what I need to rant about this: while literati is technically a good girl x bad boy dynamic it is written so incredibly well and avoids so many pitfalls and stereotypes that it makes a good girl x bad boy hater like myself (I’m only half joking — I don’t think any trope is inherently good or bad but I tend to dislike most pairings with this dynamic) fall head over heels for their story and relationship.

So much of what makes the two of them work is the contrast between how others perceive them and how they truly are. Don't get me wrong, there are plenty of people who understand who Rory is as a person (Lorelai, Lane, Paris, Richard and Emily to a certain degree for starters), but she's constantly met with the expectation that she just does good and is supposed to make everyone proud 24/7. Stars Hollow as a group especially are big on this, as seen f. ex. through how Taylor takes Rory's one comment about an inappropriate DVD and twists the whole thing into a censorship crusade and makes Rory its poster-child even though she wants nothing to do with it and tells him so repeatedly. But instead of hearing Rory disagree with him (like he would Lorelai and Luke) he assumes that she actually agrees with him - and why shouldn't she when she's the perfect sunshine paragon of good who would never disagree with her elders? Also her grandparents treat her as incredibly fragile and childlike, like she must be too innocent to ever do anything wrong and so whenever she does something it has to be somebody else's fault (usually Lorelai, but occasionally Jess or whoever else was present). Time and time again Rory is treated like something innocent and naive and weak — but not by Jess. He sees her as a person.

And it obviously goes the other way too. Jess is treated like shit by pretty much everyone else. Either people hate him unprovoked or very much provoked (he did do a lot of pranks in his first few weeks and while I'm a Dean-hater I'm not blind to how much Jess picked fights with him), or they’ve simply given up on him. He tells Rory himself that every authority figure he had back in New York gave up on him too, from teachers to principals to his very own mother. But Rory doesn’t treat him like a lost cause, she treats him like the smart, brilliant and asshole-ish teen that he is. By having faith in him she also often holds him more accountable than others. Where f. ex. Lorelai or the other adults just roll their eyes, Rory physically drags Jess into doing his shifts at the diner. While others write him off, Rory chews Jess’ ear out for not helping Luke more and for willfully making enemies out of the Stars Hollow adults.

They don't put each other on pedestals or below each other. Jess doesn’t try to make a sinner out of Rory and she doesn’t try to make a saint out of him. There’s genuine respect between them. They expect each other to have integrity and treat others with kindness and honesty, and the rest is good old chemistry and common interests.

I particularly love how in so many of their scenes (especially pre-relationship) when they spend time alone they just get to be these goofy nerdy kids. They argue about controversial authors and dig through records shops and eat hot dogs and make fun of each other and try to make each other laugh. It’s not just sexual chemistry as it too often is in a dynamic like this (and often uncomfortably sexual when writing teenagers - looking at you Gossip Girl), and not just well written intellectual chemistry — they have platonic chemistry too. A hell of a lot of it actually.

While I don’t think ASP wrote them through a purely deconstructionist lens on the good girl x bad boy dynamic (if she did plan on writing the dynamic at all), there is something to be said about how where many around them treat them like stereotypes they treat each other like people. To so many people, Rory is a perfect small town princess, a little miss sunshine with booksmarts for days but too delicate and sweet for anything with grit and weight. To a lot of the same people and many more Jess is a pathetic brutish and maniacal lost cause, hell personified in a chainsmoking leather-wearing teenager. But to each other they are actual human beings. Kind and mean and flirtatious and scared and reckless and smart. Rory really thinks that with the right motivation and mindset Jess can be the kind who does (and at the end wrote) incredible things. Jess really believes that with a little more practice and support to step out of her comfort zone she can be the amazing journalist she wishes to be.

They don’t have this stupid «we’re so bad for each other but we can’t stay away�� thing that too many trope users rely on and don’t even justify in the plot. Everyone else might think they’re not fit for each other, but they knew they were each other’s person from the very first day.

[graedari]

2-for-1 deal of Jess Lives and Gets Marked AU

[a-lesbianshadowinthenight]

there’s something about how jess and lupe gravitate towards each other immediately and understand each other with so little words exchanged. something about how they balance each other out. how they use their different worldview’s and perspective to strengthen their relationship rather than drive them apart that’s so so dear to me

jess immediately clocking lupe and not getting offended when lupe thinks it’s a dumb question

lupe not knowing where moosejaw is and jess begrudgingly amending it to canada

that could have easily become a situation where two people would have written off the other person

but they saw something in the other that they recognise in themselves that made them decide that they wanted to stick together

the way jess goes straight to lupe when beverley is explaining the house rules and lupe immediately complains to jess about the no pants rule

the way lupe’s voice goes from angry to soft in the locker room when she notices jess is upset about having to wear a dress, lupe comforting them because she knows

lupe not finding jess’ ‘sinking boat’ analogy weird and instead asking her to give specific details, the way you can tell she finds jess interesting

jess being the only one to second lupe when the rest of the team wrote her off as a bad fit to be coach

jess being happy to see lupe having confidence again (let’s not forget them biting their lip about it too, um okay loverboy)

jess taking the piss out of lupe to try and break her out of her bad mood (‘did that help?’ ‘…..yeah’) (ps also made lupe wanna kiss her. this is canon idc)

the fact that you can see they still seem to be seen near each other even after the fight incident, jess is behind lupe when carson is trying to be a stricter coach, when they’re still mad at lupe

the way they can disagree, get angry over things they don’t understand, and they hear each other out. jess starts out ripping into lupe about fighting amongst the team, only to realise they hadn’t seen it from lupe’s perspective

jess not needing an apology from lupe about the black eye (idk if lupe caused it directly or indirectly, but jess arguably blames her for it at first) because she now sees it from lupe’s side

jess understanding and then apologising in their own way, getting the whole team toasting lupe when they know she’d felt excluded in the past, showing lupe that they have her back in doing so

lupe knowing jess is sorry without them having to say it, understanding the implied meaning of jess’ toast. you can see by her reaction that she appreciates it (also loverboy over here blushing about it, i see you lupe)

arguably, the little nod lupe does after she thanks jess for the toast could be interpreted as her telling jess she understands it and they’re cool

the way they move past it and it’s water under the bridge, they’re back to being ‘brothers’

jess not being afraid to call lupe out on being hard on esti, challenging her when she pretends not to care that esti has run away. jess sees right through lupe’s facade, and witnessing that plus esti’s conversation with lupe in the car (even though she doesn’t know what esti is saying) knows that lupe needs to sort her shit out with esti, and orchestrates a situation where they can do it, without forcing lupe

lupe knowing exactly what jess did and instead of being angry is actually lowkey impressed (and a little turned on let’s not lie)

the fact that they both automatically run towards each other on the pitch when they get a home run or win and run into each others’ arms (lupe’s dorky grin is so adorable and sorry not platonic at all, that’s a smile you give someone when ur in loveeeee)

just the whole bar scene. they’re so in sync with each other, finishing each others’ sentences, teaching carson about gay culture together, the easy camaraderie of the arm wrestling (the kisses on the cheek!!!!!!!! twice!!!!! the second one where they’re both smiling!!!!!!) both of them automatically leaning towards saying no to carson when she asks if they’ve been with women here

i also think they very openly talk about their hookups together based off lupe showing jess her hickeys, and lupe telling jess veronica is a biter. i also think they would be each others wingmen (also think if/when they fuck each other they would have threesomes lmao)

(i also think they would tease each other for their very poor flirting skills)

them talking about sticking together on the off season and going to new york together (although i still can’t decide how their conversation indicates that, or the scene i’m thinking of isn’t the right one idk)

anyways tldr: they became unlikely but also inevitably each others person and challenge each other to be better, they’re a good team, they have great chemistry that draws them together. they are soulmates

[lostinthewoodsomewhere]

I love how much awe and longing she say's this line with... the world finally makes sense to her, after all this time...

[rcguevariant]

send 🔄 to switch powers / abilities with my muse

@jesse-vaudry

Though Rogue and Jesse had been rescued from Mister Sinister's lab by the other X Men, the altercations were already complete. Sinister had performed some sort of experiment that switched Jesse's powers with hers, leaving each of them with the other's abilities rather than their own. Beast and the professor were currently attempting to find a way to restore things to the way they were, but, until then, they had no choice but to live with the current situation.

For Rogue, this was a double-edged sword. As much as she absolutely HATED the idea of someone else being burdened with her powers, especially someone as nice as Jesse, there was something LIBERATING about being free from that burden, even if she knows it will only be temporary. And she hates herself for it; it feels selfish of her, being glad for a reprieve if it means someone else has to bear that weight rather than her.

Still, she can't help but feel a sense of EXCITEMENT at the prospect, wanting to take advantage of the opportunity that's been presented to her, no matter how much of a horrible person it makes her. She can touch people's skin; she can feel another's skin on hers for the first time since she was a teenager. She can hold hands with Remy, kiss him, touch him in all the ways a couple is supposed to be able to touch each other...

BUT FIRST, she has to apologize to Jesse for the burden that's now been placed on him, even if it's not actually her fault this happened. She approaches the other mutant tentatively. "Hey, I, uh... Ah'm really sorry 'bout all a' this... Ah wouldn't wanna put this on mah worst enemy, much less one of mah fellow X Men..."

[somnas-writes]

Minor details in my MCD rewrite

the children of Phoenix Drop have more personality

The second gen of Phoenix drop all felt one sided. There’s such potential with them.

Like Malachi definitely would be overprotective of everyone, Alexis would have trauma surrounding her coma, Levin would have issues regarding his heritage— They ALL would be traumatized by the fact that their home was invaded while they were children.

Nana isn’t an infantilized character

I hate the way nana was written. There’s such potential to make a character who has a rich background and strong characterization. She has such an interesting past, the whole “cute” thing could be covering up some of her trauma

Aphmau is SO feral

She spawned, made bad jokes, fell into holes, kidnapped people and ate a zombie brain on accident— she wouldn’t be that diplomatic immediately.

I firmly believe she fought with her hands until she figured out how to craft weapons

Aphmau has short hair

She has long hair at the start but then cuts it. I feel it would be such a slay for her to have shoulder length hair, like a wolf cut or something layered

(Am I saying this because I got my hair cut short and I project onto my writing? Yes)

Aph is like invincible

Because of the 10 hearts in Minecraft, in my mind it translates to her being way more durable than anyone else. It’s insane how much she can handle.

Dante never had a crush on aph, rather he sees her as a sister

They’re close in age to me. Dante definitely would’ve missing having siblings or someone to talk. Aphmau lacks that strong familial connection, she can have parental figures but it’ll never be the same as having a sibling

(That’s me speaking from experience, being close to your parents doesn’t have the same feeling as being close to your siblings)

Season 2 characters appear earlier.

I am delusional so I’m scrambling the events of season two. Specially the events with Travis and Lucinda

THEY GET TO SAY FUCK

As many people have agreed with my post regarding cursing in mcd. I feel like it makes sense for my rewrite to have swears. It would be so much funnier. Aphmau deserves to curse, as a treat

[leviiackrman]

Thought I would update:

[xerith-42]

Y'all it is so fucking hard to write Blazein in MyStreet when all your canon reference material is Phoenix Drop High Season 2 and When Angels Fall. Like. Yeah I can take stuff from all the things with the voice actors but like. Ugh. Their dynamic is real to me, it's so real, it exists, but it's not actually in MyStreet. They never interacted in the manner they were meant to! Ein's casual toxicity meeting Blaze's dumb ass sincerity is just a recipe for disaster or something beautiful and maybe even both. But there's not any canon material I can source for that so I guess that's what this stupid long fic is for.

[sesamestreep]

Nick/Jess, 15!

15. i’ll save you a seat (from this prompt list)

IT’S MILLER’S TIME

The bestselling author of the hit YA series ‘The Pepperwood Chronicles’ opens up about seeing his work adapted for television, his new novel, and becoming a father.

LOS ANGELES - The lunchtime crowd at Gogo’s Tacos in Silver Lake is more plentiful and aggressive than the colleague who recommended the spot for my interview with Nick Miller led me to believe it would be on a weekday, which means I spend the twenty minutes between when I show up (ten minutes early) and when he arrives (ten minutes late and convincingly apologetic about it) fighting off other patrons who are convinced I’m lying about expecting someone and want to steal his seat. His appearance in the busy restaurant is welcome for more reasons than one.

We’re here to discuss the new Netflix adaptation of his bestselling book series, The Pepperwood Chronicles, into a television series. The first season, which drops this Friday on the streaming platform, takes on the Herculean task of adapting the first book in the series (clocking in at 628 pages) into just eight episodes of television. It’s a highly anticipated project for the army of Pepperheads out there, who want to see if Sebastian Stan truly has what it takes to embody the titular grizzled New Orleans detective from Miller’s beloved novels, but it’s not the only project that’s been occupying Miller’s time lately. He’s also got his debut novel for the adult market, the stylishly-titled HoBo, which draws heavily on his childhood in Chicago, coming out in November. But the project he’s most anxious to brag about is one he had—by his own admission—very little to do with, aside from the original idea. The lion’s share of the credit belongs to his wife.

“This is Reggie,” he says, stretching his phone across the table proudly, swiping through dozens of photos of a pleasantly chunky infant in a Chicago Bears onesie. “Oh, and that’s Mario,” he says, when we get to a photo of a dog sniffing the same baby, asleep in a car seat and wearing a hooded jacket with bear ears.

“I know he looks like a funky little alien right now, but my wife says that most babies get really cute around the six month mark,” Miller says, after suddenly remembering that he has tacos he could be eating. He takes an enormous bite of one before making a face. “God, don’t print that. My son is already adorable. I love him.”

We debate whether or not I can actually print that comment (guess who won) for a few minutes before Miller finally allows us to move on. I ask, given his penchant for drawing details from his own life to use in his novels, if this recent development for him means we can expect the next Pepperwood installment to find Julius Pepperwood and his leading lady, Jessica Knight, contemplating parenthood. 

“I don’t know about that,” Miller says, with his mouth full. “It’s not that one-to-one for me. Yes, Pepperwood is based on me in some ways, but in many other ways he isn’t, you know? Same goes for Jessica Knight. She’s based on my wife, definitely, but I’ve never felt constricted by that. I’ve always felt like the characters follow their own path, though they take inspiration from my real life.”

In this answer, Miller has given me both an articulate response and neatly sidestepped giving any confirmation of further Pepperwood installments, which forces me to ask the question directly. His face goes blank for a moment afterwards, and he spends a while chewing before he attempts to answer.

“I’m not saying no,” he finally replies, wiping his hands on a napkin, while looking thoughtfully into the distance. “But I’m also not saying yes. There have been people—and my wife tells me not to read the reviews or the comments, but sometimes, you know, shit happens and you see some stuff—there’s people who think Pepperwood is too happy now. They liked him when he was tortured. Now, he’s got the love of his life by his side, he solved his brother’s murder, he made peace with his father. It’s like, where’s the tension anymore? But at the same time, I don’t want to make him miserable again just to sell more books.”

Miller talks about Pepperwood (and Knight and all of his characters) like they’re real people, a fact he shrugs off when I point it out.

“Of course,” he says. “Of course they’re real to me. It’s important to remember that they’ve been with the readers for six books now, but they’ve been with me for longer than that. And they don’t leave me alone when the book is done, either, like they do for my readers.”

They don’t seem to leave his readers alone after the last page, actually, if the healthy fandom producing fanart and fanfiction online are any indication. Miller, of course, has thoughts.

“I’m pleased about it,” he says, with his usual Chicago-born nonchalance. “It’s always made me happy that my work resonates with people, especially young people. I didn’t see that coming, in the beginning. It wasn’t supposed to be a YA series.”

The origins of The Pepperwood Chronicles are the publishing world’s version of a Cinderella story. Miller initially published the first book in the series himself at the encouragement of his friends, hawking the hand bound (!) copies at local bookstores with the encouragement of his then-girlfriend, as well as his future wife (“Two different women,” he clarifies. “It’s a long story.”) The hefty novel all about the seedy underbelly of New Orleans very quickly found a devoted fan base amongst a surprising audience: teenage girls. Where other authors might have bristled, Miller instead took his unexpected champions in stride.

“Like, there was definitely some initial shock to get over,” he explains. “If I’d known I was writing to teenagers specifically, I would have cut, well, a few things from that manuscript.” He’s referring delicately to some pretty explicit sex scenes and graphic violence, which definitely get toned down in later installments of the series. Confronted with this, Miller shrugs and says only, “That’s show biz!”

Speaking of show biz, how does he feel about the Netflix adaptation of his work?

“It was really interesting,” he offers, thoughtfully. “I’m grateful they didn’t ask me to write it, because it turns out I’m a terrible screenwriter.” Before I can ask him to elaborate on that, he continues, “But the team really did check in with me a lot and they made sure the tone felt right, and the changes they had to make worked with my understanding of the world and the characters. I felt like they really respected Pepperwood, which obviously means a lot to me.”

Miller is being generous, of course, considering he and his wife are both executive producers on the series. When I mention this, however, he waves it off. “They still could have told me to fuck off with my opinions,” he says.

As for working with his wife in that capacity, he’s more than happy to sing her praises. “She’s great. Aside from myself, she’s the person I trust most to get Pepperwood, you know? Like my editors and my agent and everybody, they’re amazing, but if I’m really stuck, Jess is the one I can turn to and be like ‘does this work? Or does it suck?’ And she’ll tell me. She’s always been that person for me. She’s the first person I shared the first draft of the first book with, so her input is invaluable. Or is it valuable?”

“They mean the same thing,” I tell him.

“That’s stupid,” he replies. “I mean, I’m not calling you stupid. The English language is stupid sometimes. My wife’s input is very important to me, is what I’m saying. Her instincts are spot on.”

And they should be, after all. When she’s not producing the Pepperwood TV series with her husband, Jessica Day (yes, you’re reading that right. Miller’s wife and the inspiration for his character Jessica Knight is named Jessica Day. Check the dedication on the first Pepperwood novel if you don’t believe me) works for Scholastic, as a part of their team that handles community outreach to K-12 schools across the country. (Miller’s publishing deal is with an imprint of Simon & Schuster, in case anyone is worried about favoritism.) Before that, she worked briefly in the nonprofit industry and as a middle school teacher and later vice principal. 

“She understands the demographic perfectly,” Miller summarizes, fifteen minutes into an endearing monologue about how great his wife is. “I think the writers for the TV show liked having her around even more than having me. She really knows her stuff.”

When I follow up a few days later with Ms. Day for comment, her husband’s remarks amuse but don’t surprise her. “He’s always giving me too much credit,” she says, humbly.

Does it weird her out at all, to have so many people so intensely invested in the fictionalized version of her love life?

“It’s funny. I know the names are really similar and obviously Nick borrows things here and there from our real life,” she says, “but I really don’t feel like Jessica Knight is me. So I don’t take it personally at all.”

This isn’t the first time this attitude has come up in interviews. Last year, when casting was announced for the Netflix series, Day made headlines for defending the production’s decision to cast British actress Gugu Mbatha-Raw as Jessica Knight after many fans claimed she didn’t match Knight’s description in the books.

“Gugu’s a very talented actress. I’ve seen her screen tests and she will blow you away when you see the show, I promise!” Day took to Twitter to say at the time.

“She capture [sic] JK’s energy perfectly,” she added in a further tweet. “Please welcome her to the Pepperwood family as we have!”

Now, Day is less diplomatic in her response. “It was a small portion of fans who were upset,” she says, “but they were the loudest contingency. It was very upsetting, and honestly tacky. So what if she doesn’t look like me? The character isn’t me, first of all. And the books are set in New Orleans, for God’s sake! It would be stupid if the entire main cast was white people.”

When I accuse her of saying the quiet part loud, as the kids say, Day seems nonplussed. “It’s those new mom hormones, I guess,” she replies, as a baby cries in the background of the phone call as if on cue. “I just don’t give a fu…dge.”

Miller, during our interview, feels similarly. “The team went with the best people for the parts, and we made it clear, my wife and I, that they absolutely weren’t trying to cast our doppelgängers. That wasn’t the point. Honestly, it would have freaked me out if they had.”

So he doesn’t think he and Stan look alike? 

“No, not at all,” he says, automatically. “Do you?”

“He kind of seems like a more Hollywood version of you, yeah.”

Miller takes a long time thinking this over. “That’s…huh…”

In order to distract him from the existential spiral I’ve inadvertently led him down, I switch us over to the topic of his new book, HoBo. It’s made several lists of most anticipated books for this fall (including this publication’s) but there was a while there where Miller feared the manuscript would never see the light of day. 

“The publisher thought it was too dark for the teen market,” he says, without any of the smarmy pride one would expect from the average male author accused of being ‘too dark’ by The Man. “I had no idea! I thought Pepperwood was too dark for teens and they loved it! So, there was a bit there when I was like, ‘okay, so this is the end, I guess.’”

Miller isn’t being melodramatic either. There was a moment, according to him and confirmed by his editor, Merle Streep, where they considered parting ways. Luckily, they came to an understanding once the dust settled and Miller pitched the novel, then titled “Chicago Hobo”, for the adult market. The source of this brilliant solution? You guessed it: Jessica Day.

“My wife’s a genius,” Miller states. “It was so simple and yet none of us could see it. Of course they should market the book to adults, if they thought it was too gritty for teens. Obviously.”

Day, however, downplays her contribution. “The issue with the manuscript came to a head on our wedding day, if you can believe it. On our honeymoon, it was all Nick could talk about. He was worried he’d never publish another book again. I suggested he send the manuscript around to other publishers to see if there was interest, but pitch it as, you know, a book for grownups. I thought it would make him feel better. I had no idea that the minute he did that, his original publisher would come back to him with a deal.”

But that’s exactly what they did. He’s also on the hook for three more books after that, though he’s cagey with details about if those will be HoBo sequels, further Pepperwood adventures, or something else entirely.

“We’re in a really pivotal moment,” Miller says, looking a little bit sweaty as he admits it. “We’ll see how Pepperwood does as a TV show, we’ll see how people feel about HoBo when it comes out.” He pauses to laugh. “We’ll see if being a father completely fries my brain and I never write another coherent sentence ever again.”

Early reviews and chatter are saying that the new novel is every bit as cinematic as The Pepperwood Chronicles, which suggests a screen adaptation is more a matter of “when” than “if.” It is, by Miller’s own admission, even more autobiographical than Pepperwood (the preteen narrator is Travis Tiller, called “Trick” by his friends, so do with that what you will). It’s based, in many ways, on his childhood in Chicago, but it’s also equal parts dystopian speculative fiction and superhero origin story, with a heavy pour of magical realism to wash it down. The cinematic universe practically writes itself.

“We just don’t know,” Miller replies vaguely. No matter what I do, I can’t get him to speculate on bringing this book to the small or big screen. “I don’t want to jinx anything,” he adds, frantically, after many such questions.

Fine. But, as pure speculation, what actor does he think, potentially, has what it takes to bring the eponymous hobo to life on screen?

“Rock Hudson,” he says, after much bullying.

When I inform him that Rock Hudson is dead and has been for more than 30 years, Miller looks crestfallen. What about preteen Trick Tiller, then? Is there anyone Miller would entrust to play his younger self?

“Cate Blanchett,” he replies.

When I point out that she’s both older than him and a different gender, he frowns. “She played Bob Dylan, though,” he counters, confused. I concede that he’s got me there.

We return to the much safer topic of conversation that is the current adaptation of one of his novels. What’s he most looking forward to now that the show is finally premiering?

“Getting to go on a date with my wife,” he says, sincerely, with the dead-eyed stare of a sleep-deprived new parent. “Seriously. We’re getting a sitter to watch the baby, we’re bringing a few of our close friends, who are all getting sitters for their babies. It’s going to be really fun. It’s going to be a classic mess around.”

A what?

“Don’t worry about it,” Miller says.

Is there anyone whose opinion he’s particularly anxious about, when it comes to the TV show? Or even his new novel?

“I’m always worried about what the fans think. I want the Pepperwood fans to like the show. I want them to like the new book, even though it’s not about Pepperwood, you know?”

Does he think there will be crossover?

“Absolutely I do, yes,” he says, emphatically. “The kids who read Pepperwood when it first came out—this is terrifying to say, but—they’re grown up now. They’re in college or they’re young professionals. HoBo is written for their age group now. It will be marketed to them.”

It’s kind of like they’ve grown up with him.

“Don’t say that,” Miller replies, putting his head in his hands dramatically. “I’m gonna have a panic attack. Having an actual biological child is scary enough.”

Speaking of scary, to distract him from another existential crisis, I ask if he’s been starstruck at any part of the process of turning his beloved novels into a TV show, and his answer is surprising to say the least.

“I mean, I was a little bit starstruck meeting Alfred Molina the first time. He was already in costume as Schmith, too, which was an extra level of weird,” he says, referring to the iconic love-to-hate-him villain of the first Pepperwood book and a supporting player in many of the series’s other installments. Still, Miller eventually got used to the idea of Doc Ock himself being in the show. 

“Oh, I know my big starstruck moment,” he adds. “When Taylor Swift tweeted about the trailer. That was like…Woah! Is this really happening?”

That’s right. When the show’s first trailer debuted in March, the Grammy-winning singer took to Twitter to express her excitement.

“I can’t believe how good this looks,” she tweeted with the emoji of the cat making the Home Alone face. “Is it September yet?!?”

Can we take his excitement over this interaction the confirmation we’ve all been waiting for that Nick Miller is a Swiftie? 

“I don’t know what that is, but I like her. She’s really talented. When my wife’s upset, she likes to listen to Taylor Swift and cry while she drinks pink wine,” he says, before taking a troubled pause. “Maybe I shouldn’t have told you that.”

Day laughs when I tell her this anecdote during our phone call and gives me the go-ahead to print it. “It’s true,” she says. “Who cares?”

So, if they had to pick a Swift song to represent Julius Pepperwood and Jessica Knight’s relationship, what would it be?

Miller’s answer is simple: “You should ask my wife.”

Day’s response, on the other hand, is more complex. “I think it evolves over time, you know, from book to book. Probably in the early books, before they get together for real, it’s ‘Out of the Woods’ or ‘Wildest Dreams.’ Maybe even ‘White Horse,’ if you want to go back into her catalog.”

What about for her and Miller?

“That’s easy,” Day says, and the smile is obvious in her voice. “I’ve always thought of ‘Mine’ as our song of hers.”

This conversation mostly just confirms Miller’s assertion that his wife knows his characters just as well as he does. It also begs the important question of whether he’ll use this big moment in his career as leverage to arrange a meeting between Swift and his wife.

“I don’t know,” he says, honestly. “Maybe? I should ask Jess. She might kill me if I pulled that on her with no warning.”

As our meal and interview come to an end, I can’t help asking Miller a question that has been on my mind the whole time: with all this talk of how great and inspiring his wife is, and how integral to his creative process she’s become, does he happen to identify as a Wife Guy?

“I don’t know what that is either. You keep saying these things—I’ve never heard of them before,” he admits. “But I like the sound of it. So, yeah. I guess so. Unless it’s a bad thing. In which case, no. Was that—did I answer your question?”

In this case, just like so many of Nick Miller’s characters before us, we might have to make peace with an ambiguous ending.

•

The Pepperwood Chronicles premieres exclusively on Netflix this Friday.

[witchmd13]

Heyyy so i encountered or rather reencountered a Dutch song by comedian Claudia de Breij (went to a show of hers today! Was great) and it most of it made me think of jess? And his like father-y relationship with Luke?? If they were both less emotionally constipated, that is. I translated it, was wondering what you thought <3

Hide could also mean in this instance "take shelter"

And i dont know how accurate of an English sentence 'could i come to you' is, but its basically the same thing as 'could i come over [to Your house]'

When the war comes

And i have to hide

Could i come to you?

If there comes a club

That i dont (want to) belong to

Could i come to you?

If there comes a rule

That i cant fulfill

Could i come to you?

And if i have to be something,

That ive never been

Could i come to you?

(chorus)

Could i hide with you?

When i cant anywhere else

And if i have to cry

Will you dry my tears?

Cause if i could come to you

You can always come to me

Come whenever you want

Ill keep a room free for you

When the storm comes

And i am afraid

Could i come to you?

When the night falls

And its too dark for me

Could i come to you?

When the spring comes

And im in love

Could i come to you

If the love comes

And i know for sure

Could i come to you?

(chorus x2)

When the end comes

And i am afraid

Could i come to you?

(x2)

Reading this actually made me tear up. it fits them so well. I've been reading and re-reading the lyrics for the past 5 minutes and every time I get tears in my eyes.

thank you so much for sending this to me. Jess and Luke's relationship is very dear to me. it's one of the primary reasons why s3 is my favorite season. even at his most destructive, luke loved jess so much and jess did too, even if he didn't realize it until he grew up. like that scene when jess wouldn't comes back to stars hollow for liz's wedding but only agrees later because luke asks him to? and when jess almost freezes in his car because he's a stubborn idiot? and luke waits in his truck until he made sure jess got into the dinner safely? it makes me tear up every time. they're both too emotionally stunted but they care so much about each other.

"when the war comes, and I have to take shelter, could I come to you?"

"you're hoping for reciprocation? You got it. I'm here, Jess. I'm always here."

(I hope you had fun at the show btw! 💙)

[engagemythrusters]

Here's some angst, because sometimes bodies just feel like a mess. plus a bad background xoxo

[themyscirah]

If Red Lantern Rankorr has 1000 haters one of them is me. If he has 100 haters I'm there. If he only has 1 hater that is me. If no one hates him I am no longer on this Earth. I hate Rankorr. Fuck that bitch

LMAOO going through my drafts rn and damn I really hated this guy. I mean I still do but idk this is funny to me

[gregmarriage]

i don’t understand ppl who leave their packing, until the last minute. i am already packing and i don’t go anywhere for over a week, imao

[pinkmandias]

im thinking ab mike again and i just. love moments in the gilliverse where mike is disillusioned with gus or challenges him on shit bc it goes against the audiences initial perception of him where he functions as gus’ primary sort of “yes-man”.

like his near pleading to not have to kill werner & his insistence that they find some way to not just outright kill nacho after using him like his life means nothing are what makes him human to me.. (he still does these terrible things & has to live with them obviously but it’s so important to me that even years & years in he still questions his orders) & i wonder if he didn’t (he did) also see the similarities in the way gus treated nacho as less than human/“a dog” & the way walt treated jesse.

walt was apt to use a heavier & more inexperienced hand than gus used to manipulate jesse (& others) in brba, but the way gus treats nacho in bcs (also seemingly heavy handed & inexperienced) is just. eerily similar. to the extent that it’s hard to put into words but has to be so obvious to mike who was so affected by nacho’s death that he reached out to his father in an attempt to comfort himself…

walt has his claws in jesse even deeper than gus could have ever imagined with nacho, though, with years of trauma bonding between them and a preexisting student & teacher dynamic and with jesse also functioning as the scapegoat & the “dog” i cannot imagine how wearily mike had to have come to that realization. like. i would also be as emotionally standoffish & hesitant to show jesse anything other than the most stone cold demeanor if yet another figure walked into my life to bring out my dormant paternal tendencies & warm and protective feelings only to eventually be violently taken (sometimes by my own hands) from me yet again